JSngry

Henry Clay James Clay Gene McDaniels

Thanks. I missed that one.

Did that ever come out as an OJC?

That won't do any good.

Well then, how about the "Lady Killer" do? I said CHANGE my hair style. Ohhh.... May I suggest a good hat then?

Give me "Little Saint Nick". Please...

Oh, he was doing some Blindfold Test thing and they played him a cut off that album and he went batshit, talking about how "they shit on Ellington! They shit on Duke!" or some looney-tooney crap like that. Same as his infamous comments about Braxton in a similar context many years earlier, only his sense of "outrage" was even more f-ed up because he'd had more than enough time to figure stuff out and obviously hadn't. God, what an idiot. Doesn't look like I'll be checking out his music any time soon. Guy Well hey - my "professional respect" for Phil Woods is quite high. As a saxophonist, he's unquestionably a master, and he's one of the greatest lead altoists in the history of the music. But I'm not a fan of his work after he came back to America in the early 70s, and as far as what he "thinks" about post-Ornette music, he can go fuck himself as far as I'm concerned.

Pricey, but worth every penny: http://www.oldripvanwinkle.com/newbs/vw/we...me?opendocument

Oh, he was doing some Blindfold Test thing and they played him a cut off that album and he went batshit, talking about how "they shit on Ellington! They shit on Duke!" or some looney-tooney crap like that. Same as his infamous comments about Braxton in a similar context many years earlier, only his sense of "outrage" was even more f-ed up because he'd had more than enough time to figure stuff out and obviously hadn't.

That often happens when you put a needle on the tracks. Or so I've heard...

Cadence.

Indeed it is!

Well then, how about the "Lady Killer" do?

Thanks. I try. But I could tell you stories (as could the people who've known me "behind the scenes" for a long time) that would shatter that illusion pretty quickly....

May I suggest a sport coat to go with it?

Hump. Like

Here's my stats: Total Cumulative Posts 20849 ( 15.3 posts per day / 3.77% of total forum posts ) Most active in Miscellaneous - Non-Political ( 4821 posts / 23% of this member's active posts ) That Miscellaneous - Non-Political forum is very attractive and gets a lot of play. So for the sake of peas on Earth & Good Will Hunting, can we just let all this shit drop? Rainy Day dropped in, had her say, and if the past is any indication, it'll be a good while before she comes back unless the potshots continue, in which case, hey - you ask for it, you'll get it. Dan's here to stay, and he makes plenty of music posts (if he makes 37% of his posts in Miscellaneous - Non-Political, doesn't it then follow that 63% are music related?). So what say we all put aside this petty bickering and focus on what really matters - finding the one side that will get Big Al over the Bird hump.

That ain't shit. I'm the Urban Spaceman!

I like Drives well enough, but of his BNs, it and Turning Point seem just a little less focused than the others. Just a little. A totally useless bit of trivia - Down Beat gave this one a very enthusiastic ***** review, and used it as a "free gift" for new subscibers ca. 1971. Imagine that - subscribe to Down Beat and get a free Blue Note!

Yep.

I'll believe that they invented it for themselves, but as far as I can tell, Bird's rhythm was his own, and more or less intuitive to him, roots in Lester Young aside. You can hear the difference in Diz' phrasing pre- & post- Bird, and the difference is significant. In fact, Diz has said more than once that he brought the harmony & Bird broght the phrasing. No doubt that's a bit of an over simplification, but it's true enough. Bird was truly one of the freest players ever. The closer you listen to his internal rhythm (where the phrases begin & end, and how the accents bob & weave within each phrase), the more mind-boggling it gets, especially on the live stuff. And you don't have to be a musician to hear it. Not at all. You just have to have a good feel for rhythm, and you just have to be conscious of it, that's all.

Those are two good, not great, albums. I don't know if I'd buy this set just to get them, but they're certainly not a reason not to get it either.

RIP to a true soldier of the music.

For people who have come to jazz in the last 10-15 years or so, Julius Hemphill may well be a name that's been heard of more than heard. If that's the case for anybody here, I'd like to humbly suggest that you're missing out on one of the more satisfying players & writers of the last quarter of the 20th Century. Somebody mentioned the Moers album. Although it frequently is indeed a gasp-inducing affair, it's not really representative of the WSQ in general. The story is that the band got together for that gig w/little if any rehearsal, just showed up & blew, & Moers recorded/released it. As a result, there's not much in the way of the finely-crafted composing/arranging that for me was always what set the WSQ apart from a lot of the "loft jazz" of the time. And if anybody's looking for a "gateway" into the band (especially since Black Saint doesn't yet seem to have become "easily" avaialbe again), the Ellington side on Elektra might do the trick. Certainly not their "best" album, but the songs are familiar, and if you've heard Ellington/Strayhorn's more harmonically "out" writing for sax section, then the album shouldn't shock you nearly as much as it did Phil Woods....

B.L. Lacerta Lou Lazer Dr. Booth